Module A Flashcards

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1
Q

Reimagining between the Texts

A
  • Shakespeare created a play script while Looking for Richard is about the actual performance and focuses on the role of actors
  • Richard III is reimagined in LFR through the process of rehearsal, casting and discussions pre-performance
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2
Q

Reframing between the Texts

A
  • KR3 is a script
  • LFR takes place in the minds of the cast and director that perform the script
  • Different mediums (script and film)
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3
Q

Resonances

A
  • Manipulative nature of Richard
  • Ability of Richard to ‘woo’ Anne
  • Richard’s actions have clear consequences
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4
Q

Dissonances

A
  • Starkly different contexts, purposes, forms, audiences and characterisation of Richard
  • Society’s values have changed
  • Shift from theocentricism and providentialism to individual agency
  • Shakespeare’s Richard faces divine sanction whilst Pacino’s Richard faces psychological deterioration
  • Shakespeare’s portrayal of women is stronger than Pacino’s
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5
Q

Effects of Different Media

A
  • Shakespeare’s stage brought audience into the action
  • Shakespeare’s soliloquies made a connection between Richard and the audience
  • Pacino’s viewers are excluded from the action so film techniques are used to create a sense of reality such as hand-held cameras, vox pops, unprepared dialogue and close-ups
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6
Q

Context - Shakespeare

A
  • Tudors were in power after War of the Roses
  • Political stability following unrest and threats to throne
  • Elizabethan era
  • Rising conflict between providentialism and secularism/free will
  • Christian values regarding Divine Right of Kings, Levitical doctrine, Great Chain of Being, moral absolutism and superstition (curses and ghosts)
  • Machiavellian politics that effective ruler should abandon virtue and morality, pursue power at any cost, be charismatic and eloquently command language
  • Marriage was the only way women could gain status
  • Popularity of morality plays showing struggle to hold onto Christianity when faced with Vice character that represented the devil and tempted people to sin
  • Role of theatre to affirm Tudor’s legitimacy
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7
Q

Context - Pacino

A
  • Postmodernist 20th century
  • American democracy
  • Loss of trust and faith in politicians
  • Diminished role of religion and secular worldview
  • Emphasis on free will and moral ambiguity
  • “It’s only an opinion … It’s never right or wrong”
  • Interest in psychoanalysis
  • Belief that deceit and wickedness lead to psychological corruption and inner fragmentation
  • Rise in feminist attitudes so women no longer needed marriage to gain status
  • Film was widely watched for entertainment so people became interested in the concept of sheer evil
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8
Q

Purpose - Shakespeare

A
  • Moral didacticism
  • Entertain through enigmatic villain
  • Showcase tensions between providentialism and free will
  • Assert Christian values
  • Provoke contemplation of human nature and evil
  • Propaganda of Tudor’s legitimacy of accession to throne
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9
Q

Purpose - Pacino

A
  • Make Shakespeare accessible for the modern audience as they are sceptical about his relevance and confused by complexity of language
  • Honour and prolong cultural and artistic legacy of Shakespeare
  • Convey universal themes of power, corruption and social structures
  • “Our main goal … is to reach an audience who would normally not participate in this kind of language and world”
  • “Communicate a Shakespeare that is about how we feel and how we think today”
  • Explore role and importance of actor in interpretation and understanding of Shakespeare
  • Entertainment value
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10
Q

Form - Shakespeare

A
  • Historical tragedy
  • Morality play
  • Melodrama
  • Metatheatrical historiography
  • Linear structure
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11
Q

Form - Pacino

A
  • Stream-of-consciousness metadocudrama in which Pacino’s role as director and actor merge as he is auteur
  • Interspersion of cuts from interviews with actors, scholars, discussions, vox pops, rehearsals and performance
  • Begins with “King Richard” and adds “loo” and “for” to make “Looking for Richard”
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12
Q

Audience - Shakespeare

A
  • Elizabethan
  • Christian
  • Aware of historical context
  • Previously see Richard as villain
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13
Q

Audience - Pacino

A
  • Modern Americans
  • Secular
  • Generally unaware of historical context
  • Not connected to Shakespeare’s language
  • Commonly believe Shakespeare to be irrelevant in contemporary era
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14
Q

Characterisation of Richard - Shakespeare

A
  • Vice character
  • Machiavellian
  • Rejects traditional Christian virtues and morality
  • Usurps Divine Right of Kings
  • Despot
  • Unsympathetic depiction as evil, immoral, duplicitous, manipulative
  • Physically and spiritually deformed (Levitical Doctrine)
  • “foul defacer of God’s handiwork”
  • “bloody dog”
  • “murderous villain”
  • “poisonous bunch-backed toad”
  • “bloody, usurping boar”
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15
Q

Characterisation of Richard - Pacino

A
  • Sympathetic and ambiguous depiction
  • Psychological study as tormented, misunderstood and possibly mad
  • Multi-faceted character
  • Tragic hero
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16
Q

Consequences of Pursuing Power - Shakespeare

“Richard …”

A

“Richard is slain”

  • Truncation
  • Stage direction
17
Q

Consequences of Pursuing Power - Shakespeare

“Bloody …”

A

“Bloody thou art, bloody will be thy end”

  • Repetition
  • Connotations of hell
18
Q

Consequences of Pursuing Power - Shakespeare

“God …”

A

“God say amen”

  • Truncation
  • Religious and moral parallel between Richard and Richmond
19
Q

Consequences of Pursuing Power - Pacino

“As soon as …”

A

“As soon as Richard gets what he wants… the emptiness of it”

  • Metaphor
20
Q

Consequences of Pursuing Power - Pacino

“The pursuit …”

A

“The pursuit of power has totally corrupted him” with church bells in background

  • Irony
21
Q

Consequences of Pursuing Power - Pacino

Crescendoing …

A

Crescendoing seraphic music and sharp transitions between the battle scene in and out of costume, in which Richard dies alone

  • Structural feature
22
Q

Representation of Women - Shakespeare

“The corpse …”

A

“The corpse of King Henry VI is accompanied by Lady Anne”

  • Stage direction
23
Q

Representation of Women - Shakespeare

“hateful …”

A

“hateful withered hag”

  • Negative characterisation
24
Q

Representation of Women - Shakespeare

“To take her …”

A

“To take her… having God, her conscience and these bars against me… and yet to win her”

  • Metaphor
25
Q

Representation of Women - Pacino

“That’s the way …”

A

“That’s the way you want me to behave, is that it?” and camera pans to men rolling their eyes

  • Rhetorical question
  • Vehement tone
  • Structural feature
26
Q

Representation of Women - Pacino

“I will …”

A

“I will have her but I will not keep her long” and “Ha!” with continuous voice and scene overs

  • Structural feature
  • Repetition
  • Chiaroscuro lighting in wooing scene
27
Q

Representation of Women - Pacino

Lack of …

A

Lack of women in vox pops

  • Structural feature
28
Q

Representation of Women - Pacino

“She is …”

A

“She is an hysteric”

  • Exaggeration
29
Q

Human Weakness - Shakespeare

“Is there …”

A

“Is there a murderer here? No … I am a villain. Yet I lie. I am not”

  • Fragmented syntax
30
Q

Human Weakness - Shakespeare

“O coward …”

A

“O coward conscience, how dost thou afflict me”

  • Personification
  • Rhetorical question
31
Q

Human Weakness - Shakespeare

“There is no …”

A

“There is no creature loves me and if I die no soul shall pity me”

  • Allusion to ‘Great Chain of Being’
32
Q

Human Weakness - Pacino

Richard looks …

A

Richard looks conflicted as he strokes Clarence’s face in opening soliloquy

  • Characterisation
33
Q

Human Weakness - Pacino

“Is there a …”

A
  • “Is there a murderer here? No” - Pacino offstage
  • “Yes, I am” - Richard
  • Fragmented cut scenes
  • Costuming
34
Q

Publication Years of Texts

A
  • Shakespeare: 1597

- Pacino: 1996